Over the 40-plus years I’ve been performing I’ve been fortunate to make music with some incredible musicians. That doesn’t mean they were all great players, although some were. As the years go by and our experience, ability and tastes evolve it becomes evident that making connections on more than a purely musical basis are often just as important as the end product. When we’re young and musical passion combines with what seems to be a clear idea of what constitutes “good” music the danger is cutting ourselves off from musical experiences that may have benefits that are not obvious. Clarity of vision and dedication are good things; musical prejudice (OK, all kinds of prejudice) is not. What goes along with this is finding the right people share that passion. When I reflect on the many people I’ve shared musical experiences with over those many years certain ones stand out. Most of those experiences were wonderful, some not so much but all were memorable and influential on where I think I am as a musician at this time. So what do we hope for in the people we play with? Here is my ranking system, with number 1 being the least important attribute and 5 being the most important. Musical interests:This is important to the extent that it just doesn’t make sense wasting time on a style of music that doesn’t bring me joy. Now, remember – I’m an old guy! I think a younger player should probably keep a more open mind because his or her musical life is mostly ahead of them. I’ve said many times before that we can learn something from just about any kind of music, even if we don’t like it. But when you reach my age you have most likely taken what you can from many styles and digested it. The trick is to still keep an open mind and an open ear. I LOVE being surprised. Finding someone with your exact tastes in music is a rare thing. So I have to say, matching musical interests rates about a solid 3 on my scale. Chops:Not nearly as important to me as it once was. As long as someone can keep a beat and make the changes at the right time, and is willing to practice to get better, I don’t really care how hot a player they are or aren’t. That one I will give a 2. Musical knowledge and respect:This probably bookends with musical interests but in order to play well with others we need to have a basis of knowledge of the music. I was watching the wonderful show “Daryl’s House” on Palladia the other night, in which Daryl Hall has various musicians come to his home in upper New York State for a day of music making in his home studio. On this episode he had the legendary Smokey Robinson. At the end of show he was just about in tears while talking about what Smokey’s music had meant to him over the years and the respect and admiration was a big factor in fantastic music they made together. Playing with someone who knows and loves the music you do makes a huge difference in the final result. I give that part of the musical partnership a big 4. Equipment:Another thing that doesn’t mean as much to me as it once did. There was a time when I automatically judged a musician by how fancy and expensive his gear might be. Wow, was that a mistake. I’ve heard mediocre players using $5000 guitars and incredible players doing unbelievable things with $300 beaters. Yes, when I get together with someone to play I hope they’ll be able to stay in tune and not have to fight with their instrument but the name on the headstock isn’t nearly as important as what the player can make that instrument do. I’ll give that a 1. OK, maybe a 2…. Old habits die hard! And finally….. Relationships:You can learn to get along with someone in a musical setting who will never be your best friend. I’ve had plenty of those experiences. But what I won’t put up with are ego issues. Give and take, knowing how to listen, knowing when to lead and when to follow. Giving a musical partner room to grow and not dismissing ideas out of hand without giving them a chance. And most of all, the ability to have a laugh when it’s appropriate but a smile most all the time. That’s what I look for. I give this one 5. Peace & good music, Gene

Inspired by the upcoming year and half of political hoo-ha that we go through every four years in the good ol’ USA, where short answers to complex problems seem to be the norm, I’ve decided to offer my first ever quick hits blog post! So here we go. Changing strings on a classical guitar is a royal pain in the @ss! James Taylor just sounds better and better. How???! Ed Sheeran on the other hand…. I guess I just don’t get it. All great players, regardless of their instrument, will gravitate toward jazz sooner or later. Keeping a guitar fretboard and neck clean makes you want to play longer. Which can only make you better. Same thing with strings. Martin Taylor is still my hero. If you could wave a magic wand over my head and I could cop the chops of one player, it would be him. For most people it’s way harder to write a happy song than a sad song. Although they are undeniably beautiful and some sound heavenly, most “boutique” guitars are overpriced. Some, obscenely so. On the other hand, some guitars coming out of China (some, not all) are an incredible value. Muddy Waters was THE MAN. The best and most famous players tend to be the nicest people you’d ever want to meet. The ones who are very, very good but won’t ever reach that level can be the biggest a-holes. In my experience, anyway. “The Mississippi delta was shining like a National guitar.” One of the best lines in a song ever. A 12-string guitar has an amazing potential for strumming abuse, sound-wise. But finger picked by someone who knows how? Oh, my. That assumes the person can tune one. Something that is way harder than it looks. We are in something of a golden age of guitars right now. So many great choices in all price ranges. Not like the old days…. But just because a guitar is called “vintage” doesn’t mean it sounds good or plays well. It will no doubt be very expensive, regardless. For most people, keeping a steady, consistent beat is far and away the most difficult musical skill. It doesn’t matter how simple a piece of music may be, if it’s played close to perfection it will be infinitely satisfying. I wonder what Jimi would be playing today? And in some strange way, I get sadder about George no longer being with us than John. But I miss him too. As hard as it may be at times, resist the temptation to diss other players. It will come back to haunt you, one way or the other. You can learn something from ANY type of music. You don’t have to like it but there’s always something in there that can make you a better player. Taylor guitars are almost always gorgeous. If they only sounded as good as they look (!). Playing outside is incredibly liberating. Even making the effort to play in a different room inside your home is good for your musical ears. Don’t let new mistakes in an old song, one you’ve played for years throw you too much. Smile when you play! Peace & good music, Gene

Over the last five years or so I’ve played more gigs than ever in similar amounts of time over the course of my playing career. This is due in no small part to my regular weekly engagement at the wonderful Daily Brew café on weekend mornings. But there have been lots of other things too – gallery openings and shows, weddings, private parties, and more. One thing that will always amaze me is the reaction to my music by the youngest attendees. I’m talking about not just young children but even toddlers and remarkably, infants. It confirms what scientists and researchers have known for generations: music is goes to some deeper place in our subconscious mind, perhaps to the very core of our being. Both of my kids played musical instruments growing up. I pretty much demanded this for many reasons, not the least of which is that my family has always been populated with musicians back many generations. Beyond that, I absolutely believe that playing music teaches so much more than the actual playing of an instrument. Learning how to listen, how to internalize rhythm, and in an ensemble situation, how to make what you’re doing match what others are doing, all hugely important skills that carry over to many other aspects of life. Neither of my kids played guitar (I would have been thrilled to teach them, but I was committed to not forcing it upon them) but son Matt played drums and daughter Joanna played flute with both of them beginning in school programs at an early age and sticking with their respective instruments right through high school. I don’t think Joanna has any interest in continuing with the flute but I fully expect Matt will pick up the drumsticks at some point when his career and living situation allows. Although I can’t prove it, I believe that the logic and order and discipline of making music helped them be the good students they were and also opened their minds in many ways. But then there’s the magic. Many, many times I watched toddlers or even babies be absolutely mesmerized by the sound and the playing of the guitar. Often even the youngest ones will nod their heads or move around in their high chairs to the beat of the music. How do they learn to do this? Certainly early and frequent exposure to music has something to do with it. This touches on social norms too. On my many trips to islands in the Caribbean I have noticed that music is as much part of the every day life of the people who live there as eating and sleeping. Music is EVERYWHERE, an almost unconscious and constant part of living. Many researchers have also concluded that the beat or rhythm of music is somehow tied to our heartbeats, the most basic rhythmic context that we all share. I think this is probably the case, especially when a person of any age is exposed to predictable repetitive beat. For my part, as much as I like to see people dance when I play (which of course was much more common back when I played with groups with drums) I just love to watch young children move and groove when I play. Their parents love to see it too and when I can get a cranky toddler to settle down and watch and listen I know as a parent who dealt with plenty of that back in the day that I’ve made their day just a bit better.

Wow, two blog entries in two days after not posting for over a month! Too much time on my hands?! Anyway…. I wrote about this subject a couple years ago but I think it’s worth revisiting. One of my students has been asked to play at a wedding ceremony in a couple months and she is stressing out about it quite a bit. I’ve played many, many wedding ceremonies over the years so we’ve been working on the tunes the bride has requested. I am playing one myself in a week or so and at least I have some idea what to expect. But there are no guarantees – I sincerely believe that many people go a little crazy when planning wedding ceremonies. This leads to some interesting experiences, to say the least! So, if you have been asked to play a wedding ceremony here are a few things to help you prepare and be ready to go with the flow. Which in spite of the best laid plans you will surely have to do. As a recent father-of-the-bride myself I know what planning for that special day entails. I learned early on that the best course of action for a musician hired to provide music at a ceremony is to go to whatever lengths are necessary to make my end of things as stress-free as possible for all concerned. This starts with (as gently as possible) convincing the bride that this will not be a concert, i.e., the music should not intrude on the event and draw focus away from where it rightly should be: the bride and groom. Or bride and bride, or groom and groom. Yes, the music should be a part of the ambiance, essentially just one component in overall setting. Unless some song has huge significance in the lives of the participants, no ceremony should stop so a song can be performed. Occasionally I will be asked to play back-up for a friend of the wedding couple who is a singer. That’s OK, I guess, but I still think it is a distraction. Also, this means rehearsal time. And that gets to perhaps the stickiest issue of all. There is no way to say this without sounding crass: time is money. The more time I have to spend in rehearsal with others, whether it be a singer or the rehearsal of the ceremony itself, the more I have to charge. The more travel that is involved with doing the wedding (and the rehearsal if that is necessary), the more I have to charge. If a particularly difficult and unfamiliar piece of music I must learn and perfect is requested, the more I have to charge. Sometimes I encounter resistance to these realities, which requires some serious biting of my tongue. I know for sure that I have lost wedding gigs because of this monetary reality but so it goes. Speaking of rehearsals – is it necessary for the musician to be there? No doubt it eases the mind of the participants but an experienced professional musician will have sound files that can be forwarded or a CD that can be played while the wedding party rehearses who walks down the aisle. Having a professional wedding planner helps tremendously with this. But if the couple feels better having me at the rehearsal, I am happy to do it. The fee will be adjusted accordingly. And how about the music itself? I have about a dozen nice instrumental arrangements of well known popular and classical pieces that work great for processionals and recessionals. It’s common however for the couple to request certain songs and I usually try to comply, within reason. I have had some VERY strange song requests for wedding ceremonies over the years, however. The wedding I’m playing in a couple weeks includes a couple in that category. I will paste a smile on my face and play them, because that’s what being a hired musician (hired gun?) is all about. I wish I could begin by announcing, “At the request of the bride….” But alas it doesn’t work that way – ha! Here is a short list of must-haves if you’re going to play a wedding: As much knowledge of the venue as possible. This will determine what you need in terms of sound reinforcement – and everything that goes along with that like extra extension cords, batteries for your tuner, extra mic cords and guitar cords in case one of yours dies. Be absolutely certain you have discussed access to a power source with the wedding planner or bride. A music stand and a stool of some sort. If you’re playing an outdoor venue, be sure to bring along clothes line clips to attach your music to your stand so the wind doesn’t take away your music right at that crucial moment when the bride is making her entrance! And of course, double check that you have your music before you leave home. I won’t get into specifics of equipment that I use but it helps to have stuff that sounds good but isn’t too heavy. There’s no telling how far you will have to carry your gear. There are some pretty good battery powered amps on the market these days, which make a lot sense especially for outdoor ceremonies. Your guitar bag should always include spare strings, capo and digital tuner of course. Hopefully, you won’t need them. Finally, be sure to arrive well before the event is to start so you can deal with any glitches, which as I said at the beginning there are almost sure to be. Do a good sound check before any guests arrive, factoring in the acoustics of an indoor venue or the weather in an outdoor one. Windy conditions require more volume, but be very, very careful in that regard. Few things are as much of a buzz kill during a wedding ceremony as feedback from an amp or PA system. Weddings are some of the most joyful events in a person’s life and I do everything in my power to make the music frosting on the aural wedding cake, so to speak. If you’re going to play your first wedding, be prepared for just about anything and keep a smile on your face. Peace & good music, Gene

My apologies for being out of communication for a while! All is well but it’s been a crazy busy summer so far with no end in sight. “Make hay while the sun shines!” as my grandfather used to say. So, a few odds and ends to at least let those faithful readers of my blog know that I’m still teaching, playing, buying and selling guitars, and generally observing the music scene. I’ve heard some interesting music this summer. A couple weeks ago I went to a show by the legendary David Crosby, which was the last show on his recent solo tour. Croz was in great from, his voice and guitar playing still remarkable after all the years and experiences (good and bad!) he has endured. Although he leaned heavily on his solo recordings there were a few tunes that were familiar to the fans who might have been less than ardent followers, including “Triad,” a very interesting and ambitious solo acoustic take on “Carry On,” and of course “Guinevere.” His guitar tech handed him a new guitar for every tune, which made sense considering Croz uses many interesting open tunings. There appeared to be four or five guitars in rotation including a vintage D-45, vintage D-28, a smaller Martin (OM or 000?) and a smaller body boutique maker guitar that I didn’t recognize. Between his fantastic playing (sometimes making it sound like there were two people playing), those great guitars and a fantastic sound system at the Zeiterion Theater in New Bedford it was a wonderful musical experience. He spent about as much time talking as playing, which was very entertaining and his self-deprecating humor was great. Croz has always been quite political (extreme left-leaning) so if you didn’t agree with his views it might have been uncomfortable but I happen to agree with him on most things so that was fine with me. Looking quite like the Mark Twain or perhaps the Benjamin Franklin of rock music, three-time Rock and Roll Hall of Fame member David Crosby is well worth hearing if you have the chance. He is truly an original. On another totally different tangent of classic American popular music, we heard Three Dog Night at the local county fair a couple weeks ago. Tons of fun, quite surprising actually as I was never a big fan of their music but you have to give them credit for cranking out the hits back in the day. Of course they ended with “Jeremiah” and the crowd of at least 2000 went nuts. Three of the original members led the group with a Nashville ringer on keyboards (their original keyboard player died in March) and a very good session drummer. They put on a very entertaining show and I left with a smile on my face. What more can you really ask for? On the local level, groups in my area continue to be borderline obsessed with Grateful Dead music. This has been going on for a while now and I find it kind of curious, although I understand the appeal from a player’s standpoint. The Dead’s music is pretty simple on its most basic level, some of the tunes are still catchy after all these years, and then there’s the whole cultural phenomenon component. I saw them twice, once in the early 70s and once in the 80s and I think I found them kind of rambling and boring but I get it when it comes to their legendary status. Whatever. My teaching schedule remains close to full, which is great. I have a couple of adult intermediate level players who have come a long way since they started a couple years ago and it is really gratifying to see them take such pleasure in playing. Everyone progresses at their own rate and I have to be sure to keep quite detailed records of each student’s progress to help in my weekly lesson planning session. I am beginning to formulate plans for some winter guitar get-togethers for present and former students, which is something I’ve been meaning to do for years. Playing with others is a vital part of the overall musical experience and older players just don’t have the networking opportunities that younger players often have. So this has some great possibilities! More on that as my plans progress. I’m excitedly anticipating the arrival of a new guitar, a crossover nylon string Cervantes that should show here in a week or so. It was pricey but being able to play my bossa nova and jazz tunes on this type of guitar (versus my perfectly fine 000-18 Martin) is something I’ve wanted to do for years. I will post a review of the guitar after I’ve played it for a while. As Olde Cape Cod groans under the weight of the yearly influx of tourists, I look forward to a little getaway to St. John in a few weeks, followed later in the fall by a 10-night trip to Italy. Sometime before then I really, really have to finish my house painting project, continue my recording endeavors, do some fishing, play some more summer gigs, and more stuff I’ve probably forgotten about. In spite of that, I WILL post more often! Peace & good music, Gene